CCK, Buenos Aires, Argentina is pleased to present renowned Argentinian artist Marta Minujín,
who arrives with two of her most emblematic art works: The Parthenon of Books and Rayuelarte.

The Parthenon of Books: The return of democracy to Argentina in December 1983 was the inspiration that led Marta Minujín to create a replica of the Greek Parthenon on the “9 de Julio Avenue,” a street located in Buenos Aires, Argentina. Mujín’s Parthenon has a metal structure covered with more than 20,000 books, many of which had been banned during the military dictatorship. The Parthenon of Books honors the world’s first democracy and the values of that era, which have served as the basis for today’s Western democratic societies. This work also stands as a symbol of the country’s prolonged need and renewed hope to transition back to democracy.

“Memorable Mud” is a participative installation that draws viewers into a multi-sensorial experience featuring scents, music – exclusively composed for this art work – and a carefully designed system reflecting light through translucent stones. The piece is the end result of an exploratory process that generates two experiences for attendees. The first experience begins as the viewer enters the room and comes across giant clay structures, clay domes with pinnacles and other elements, which hang from the ceiling from a height of 1.4 meters. This landscape acts as a bubble of clay, which is retrieved from the production place. The domes have their own inner world – one which can be accessed by the public through holes located in the lower part. This all acts as a place where the artist’s life and personal memories are stored and materialize in clay.

Andrés Paredes’s work ranges from drawings and two-dimensional cutting paper to immersive installations, and make up private collections in Argentina and in several countries abroad. He lives and works in both Misiones and Buenos Aires, Argentina.

Virtual Reality is one of the most eagerly discussed topics in contemporary culture, yet many in the art world are only starting to consider its impact – aesthetic, technological, psychological, therapeutic, economic, and so forth. This year, DIVERSEartLA offers four VR experiences that demonstrate the range of practices and possibilities that are defining VR in 2019.

Visitors can get a glimpse of the future as seen by four different creative innovators: Wesley Allsbrook, Nancy Baker Cahill, Jorge R. Gutiérrez, and Drue Kataoka.

The tools for VR and AR creation and display – once the purview of engineers, available mainly in academia and the military – are now much more accessible to anyone with a story to tell: game designers, painters, screenwriters, documentarians, journalists, architects, choreographers, and many more. Often working collaboratively across several disciplines, this diverse community of creators is discovering the technology’s potential, involving audiences in the very act of creation.

Arte AI Límite, AAL, Chile presents part of the AAL Collection on the exhibition, Trivial Lies, featuring the work of five artists.

Political action is, in itself, a manifestation of power that ultimately seeks to control, dominate and manage the masses. This premise is at the heart of the Trivial Lies exhibition, which attempts to show that lies have a life on their own and manifest themselves through street demonstrations, immigration and censorship. All these examples are manifestations of power that often give a false sense of freedom, that lead citizens to believe they are actively engaged in the political process, when they are really being manipulated for specific political gains. Citizens are constantly being deceived and made to “believe” that these manifestation are synonymous with freedom.

The Museum of Latin American Art (MOLAA) has selected Argentinian artist, Cristian Castro and his site-specific installation, 27 Peces / 27 Fish, 2018 to highlight the contemporary art of Latin America in the 2019 edition of the Los Angeles Art Show.

Cristian Castro, born in Buenos Aires, Argentina in 1971 and currently based in LA, expresses his artistic talent by repurposing discarded vintage household appliances and old mechanical tools with contemporary designs of his own. In the 27 Fish installation, the artist used 1950s Johnson brand outboard motors for the main body, stainless steel cat bowls, kitchen hinges, nails for the teeth, electrical conduits, fiber glass, custom laser cut aluminum parts molded with a hydraulic press for the fins, and automotive paint with chromed and polished parts to create these hybrid creatures that appear to come from a 19th century vision of the future.

Very much like the Argentinian collective Center for Art and Communication (CAyC) in the 70s and 80s, the artist conceives his installations as a multidisciplinary space in which to explore the relationship between art, science, environment and society. The deep-sea fish in 27 Fish were created in a retro-futuristic style, incorporating kinetic movement and light.

Adah Glenn, also known as “AfroPuff,” is a Los Angeles-based artist, designer, and entrepreneur. Graffiti, hip-hop, punk, and rock, as well as Japanese anime, inform her work. Her practice is multidisciplinary, extending broadly from murals, paintings on canvas and shaped board, prints, art quilts, and books, to digital art and animation. Glenn has also ventured into the applied arts, creating wearable art, such as hats and jewelry, and toys, including fabric dolls and resin collectable figurines. Most recently, Glenn has embarked in performance art, that provides her an opportunity to integrate her many creative impulses.

Glenn’s art is vibrant and colorful, multi-layered, and highly textural. As an African American woman, she often interweaves themes of race and gender politics in her work. Adah Glenn: Boho Highs & Visual Drive-bys presents a wide selection of her many talents in many mediums. The exhibit not only celebrates ethnic and cultural pride, music, and the female form, but also features a selection of Glenn’s poignant social commentary works.

This iteration of Ping Pong at the 2019 LA Art Show will feature artists Pam Doulas, Jerry Haenggli, Cathy Immordino, Sue Irion, Dan Künzler, Sungjae Lee and Elizabeth Tobias, and mirrors the commonalities and conflicts surging through our culture in 2019. Each artist’s singular vision is maintained while adapting to the aesthetic and cultural aesthetic imposed by their fellow artists. Sungjae Lee’s expansive piece Her Real Secret and Elizabeth Tobias’ performance Survivor! Share Your 98 Second Story are both timely reflections on the state of gender politics and identity. Pam Douglas and Cathy Immordino share a fascination with historical relevance but differ dramatically in execution and approach. Furthermore, Jerry Haenggli and Dan Künzler share a certain Swiss formality that approaches narrative with opposing emotive centers.

Ping Pong strives to show both the similarities and differences in the various cultural landscapes represented. While the artists represented in Ping Pong have shifted over the years and venues, the spirit of artist-centered collaboration and ambition remain intact.

Art Lives Here: S. C. Mero
Presented by Art Share L.A.

Art Share L.A. has partnered with skid-row based, emerging guerrilla artist S.C. Mero to bring a taste of the streets of Downtown Los Angeles to LA Art Show. Embodying the nature of downtown, the onsite installation pieces are just a teaser to the larger site map of her work – which guides attendees into downtown to explore our community under the guise of a pseudo street art scavenger hunt. Each of her site-specific, clever creations calls attention to issues surrounding homelessness, gentrification, drug use, global warming, and more. The goal of this project is to encourage further exploration of underground art, arts activism, and social justice in the Downtown community in a way that is inviting and accessible for everyone.

The Museum of the Arts of the University of Guadalajara, Mexico (MUSA) presents Metaphysical Orozco, shown for the first time ever in the United States.

The images, projected by a multi-layer mapping, belong to the murals made by the artist between 1935 and 1937 at the auditorium known as Paraninfo, inside the building in which is located the Museum of the Arts.

The installation involves the public in an exploration of the fields of thought found within Orozco’s murals, as well as the history and themes that inspired them.

The projection of the master works will be accompanied by a musical soundtrack, giving visitors a comprehensive sensory experience that will be complemented by informative graphic material.

IF YOU DRINK HEMLOCK, I SHALL DRINK IT WITH YOU or A BEAUTIFUL DEATH; player to player, pimp to pimp.
(As performed by the inmates of the Asylum of Charenton under the direction of the Marquis de Sade): Daniel Joseph Martinez
Curated by Chon Noriega
Presented by LACMA and the UCLA Chicano Studies Research Center

Daniel Joseph Martinez’s immersive environment references Jacques-Louis David’s seminal portrait The Death of Marat (1793), painted and also reproduced shortly after Marat’s assassination during the French Revolution. Whereas David’s painting represents a single moment, both sanitized and accurate in its details, Martinez creates a mise en scène using three life-like sculptures modeled after the artist’s own body. These depict Marat in his bath as well as assassin Charlotte Corday and Martinez himself both standing behind Marat (each with a bloodied dagger in hand).

Martinez stages Marat’s assassination as a public spectacle surrounded by bleachers, although viewers can also immerse themselves within the scene, no doubt taking selfies. In this way, Martinez connects David’s painting with our present moment, giving a historical dimension for modern politics as a form of theater, sport, and business. But Martinez pushes even further. The Death of Marat quickly became iconic of the French Revolution, not because it depicted a public spectacle, but rather because it circulated a political image that focused attention on the personal and private. Once that happened, politics-as-spectacle was no longer dependent on public space – it was in our minds.

Left or Right is a healing project curated by Marisa Caichiolo. The interactive installation depicts different world leaders and tyrants, and will allow the spectator, through the punching of the bags, to release anger, hatred and resentment. This release of negative emotions will transform these objects into tools of detoxification and mental healing.

Current global politics has created an environment of disrespect for humanity and our planet. Lack of harmony, senseless war, violence, racism, ignorance, loss of values and principles, lack of consciousness, super egos and demagoguery, corruption, disrespect of women, false promises, and outright lies.

Raphael Montañez Ortiz
Piano Destruction Ritual: Cowboy and Indian, Part Two
Couch Destruction: Angel Release (Pennies from Heaven)
Shred Your Worries
part of FRAGMENTS FROM HOME
Curated By Chon Noriega
Presented by the Los Angeles County Museum of Art (LACMA)

Part of Fragments From Home, a preview of Home So Different, So Appealing
Opening on June 7, 2017 as part of the Getty’s Pacific Standard Time: LA/LA

THE WORK
There is Passive ART and Active ART. Active ART requires you to participate.

PIANO DESTRUCTION RITUAL: COWBOY AND INDIAN, PART TWOParticipatory Performance. Background Sound Thunder and Lighting. The Piano is a powerful instrument of sound to convey the message of Sacrifice I wish to convey to the Universe. The Sounds of its Destruction gives full voice to Sacrifice: To the Destruction Creation in it cycle of Creation is giving us time to understand the preciousness of Mortal Life that it never be given up to or for Sacrifice of any kind…

THE WORK
In his work “Cauce/Riverbed,” the artist exposes the significant challenges faced by immigrants in California and the larger United States. Martiel digs deep into the nature of undocumented immigration and shows how it impacts the lives of some eleven million individuals and their families in the world’s most powerful nation.

His performance is a window to the human tragedy that grossly affects immigrants with low-education levels and limited English language skills, who come to the United States risking their lives as they venture into the dangerous desert in an attempt to cross the Mexico-US border. As Martiel shows, despite the highly-publicized “American Dream,” for these poor and uneducated immigrants, making it alive into US territory does not necessarily guarantee access to better opportunities or to a higher quality of life.